Nocturne in F and B

Hello again!

This is the second movement of my piano sonata - the first movement is uploaded here as "Olympic Sonatina in C," and the third and fourth movements are still in sketch and draft stages.

This piece is what I consider my second moderately successful work in bitonality. I love the sounds of diatonic, pretty materials played gently a tritone apart; something about it is pure magic to me.

It is in a structure like my older pieces: a loose ABAC with a lot of variation and improvisatory stylings. The are two main themes, variations on each, and a coda.

This connects back to a passage in the development of the first movement, which played a B Major section over an F pedal point. Not exactly bitonality, but leaning in that direction.

Here is an mp3, which is actually me playing it on a for real piano.

http://csandlewis.com/audio_files/Nocturne.mp3

Hope you enjoy!

Finale 2007c - [Nocturne].pdf

Small, quiant. Nice! Hope to see the complete sonata soon!

Very nice, it sounds lovely (in particular I share your appreciation of the bitonal rendering of a simple diatonic melody) and I can see how it works against the first movement, though I guess I must say it lacks something of the magically engaging quality of the first movement. Also I wasn't too sure about the slightly uncharacteristically tonal section bb.21-26, though it kinda works at the ending in a very English c.20th way (again, I'll mention your pieces have reminded me for some reason of (very vamped-up) John Ireland). I'm very excited to see the completed work. Damnwell wish I could play it too, lol. Lovely work. Thank you :D.

Pieter - Thank you! Small is a good word for this piece; it describes a drop of water being carried down a river to the ocean. Hopefully the Sonata will be complete this year.

Terve - Thanks! I can see how the change at 21 is a bit jarring, pitch-structure-wise. I was going for the feeling that at that point the theme is transcending its surroundings, and is finally fully realized, before once again dissolving into the scenery. Hopefully it will make more sense with the rest of the piece around it.

If you are interested in playing it, by all means, feel free!:thumbsup:

I understand that, now you explain it; I think you're probably right that it'll work contextually. Why be constrained by style, eh? :P Sorry, just been reading about Schnittke lol.